Latest news with #Jean-LucGodard
Time of India
27-05-2025
- Entertainment
- Time of India
Richard Linklater's Cannes-hailed ‘Nouvelle Vague' acquired by a popular OTT
Los Angeles, Richard Linklater 's directorial "Nouvelle Vague", which had its premiere at the Cannes Film Festival this year, has been purchased by a popular streaming platform. According to the entertainment news outlet Variety, the film is a homage to the 1960 crime drama "Breathless" by Jean-Luc Godard. It received a six-and-a-half-minute standing ovation at Cannes after its screening on May 17. It was a part of the main competition. "Nouvelle Vague", which means new wave in French, is a retelling of how the French New Wave movement came to life. Emerged in the late 1950s and early 1960s, the movement was led by several filmmakers, who denied following the traditional filmmaking conventions and focused on unconventional storytelling. It was popular for having the projects made on low budget, in an informal style and with the use of location shooting. Godard was a prominent figure of the movement alongside other filmmakers, including the names of Francois Truffaut, Claude Chabrol, Eric Rohmer , Jacques Rivette, Agnes Varda, Alain Resnais, Louis Malle, and Jean-Pierre Melville. "Nouvelle Vague" stars Guillaume Marbeck, Zoey Deutch , Adrien Rouyard and Aubry Dullin, and it will be available in Netflixx. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Time Magazine
23-05-2025
- Entertainment
- Time Magazine
The 12 Best Movies of the 2025 Cannes Film Festival
Of the roughly 35 films I saw across 10 days, here are the standouts of Cannes 2025. In terms of the competition films, at least, this has been one of the most enjoyable, well-built slates I've seen in the 15 years or so that I've been attending the festival. There's always something you're going to miss; one of the tragedies of being human is that we can't be in two places at once. But then, one of the delights of being human is sitting down, turning off your phone, and for once not multitasking, instead giving yourself fully to the vision before you on the screen. Some of the films and performances mentioned here will surely shape the conversation come Oscar time. And though it may be a while before some of the less-flashy films on this list become viewable, in some form, in the United States, seeking them out will widen your world, as it has mine. Nouvelle Vague Richard Linklater's agile, witty, elegant picture about the making of a movie that possibly only film lovers and bona fide old people care about— Jean-Luc Godard's cannon-shot of a debut, 1959's Breathless —may end up being appreciated by only about 2.6 percent of the general population. Who would make a picture like that? Only someone who cares. Nouvelle Vague, part of the Cannes competition slate, is the ultimate inside-baseball making-of movie. But even more than that, it's a picture that stands strong on the side of art, of history, of working to solve the puzzle of things that maybe at first you don't fully understand. It's both a shout of joy and a call to arms. It's all about the bold, muscular act of caring. [ Read the full review. ] The History of Sound Oliver Hermanus' romantic melodrama divided critics here at Cannes, not because it was daring or controversial but because, it seemed, the filmmaking was viewed as too restrained and conventional, maybe even snoozy. That's what I love about it: there's a quiet lushness to this story of a romance between two music scholars, played by Paul Mescal and Josh O'Connor, one a Kentucky country boy, the other a New England sophisticate, who meet at the New England Conservatory on the eve of World War I and fall in love, discreetly, as would have been necessary at the time. Both share an interest in old folk music, and they take a trip together to the backwoods of Maine, meeting average citizens and collecting, by recording on wax cylinders, the songs these people have been carrying in memory for generations. The performances are remarkable, particularly Mescal's—just to watch him listening is galvanizing. The History of Sound has the polished texture of the 'Oscar movies' we used to get in the 1990s and early 2000s; it's perhaps more gentle than it is groundbreaking. But its landscape of longing and loneliness, mapped song by song, has a misty, welcoming beauty. Die, My Love Because so many Oscar front-runners have filtered through Cannes in the past few years, everyone who comes here is keeping an eye out for the next big sensation. Scottish filmmaker Lynne Ramsay's beautiful, brutal Die My Love probably won't tease the public's curiosity in the way last year's The Substance did—it's a much smarter, thornier movie about women's experience. But Jennifer Lawrence's terrific performance is something people are going to want to see and talk about. As Grace, a woman unmoored by postpartum depression, she goes not just to the edge but beyond it. Lawrence has had children herself, and her body shows it. She's no movie-star stick-figure; she has a dreamy earthiness, like a Rembrandt nude. Her face is round and plaintive; she's vulnerable-looking, like a baby Ellen Barkin. This is the kind of performance people call 'fearless,' for lack of a better word—I'm sure there is a better word, but who knows what it is? What Lawrence does in Die, My Love is so delicately textured, even within its bold expressiveness, and its fiery anger, that it leaves you scrambling for adjectives. It's the kind of performance you go to the movies for, one that connects so sympathetically with the bare idea of human suffering that it scares you a little, though it also makes you feel more exhilarated than drained. [ Read the full review. ] Amrum Turkish-German filmmaker Fatih Akin has made great films (the 2004 rock'n'roll redemption parable Head-On) and dismal ones (the grim serial-killer creepout The Golden Glove, from 2019). Amrum, which played out of competition at the festival, is a lovely departure for Akin, a film that explores how memories shape us—and how often we decide at an early age what type of person we're going to be. Set on the German island of Amrum in the North Sea in the final days of World War II, this is the story of Nanning (played by a wonderful young actor named Jasper Billerbeck), a boy on the cusp of adolescence, steeped in Hitler youth culture but gradually realizing he's been backing the wrong side. Still, he's so eager to please his fervent Nazi mother that he continues to go through the motions; his reckoning is sometimes bitterly funny to watch, though we can see how painful it is for him. The semiautobiographical script is by Hark Bohm, Akin's cowriter on his 2017 In the Fade; Diane Kruger, the star of that film, appears here as a sturdy island farmer, crucial to the islanders not just for the food she grows, but for her common sense in the midst of madness. Romería It's 2004, and 18-year-old Marina (Llúcia Garcia), who lost her parents to AIDS and drug addiction when she was six, treks from Barcelona to the coastal city of Vigo for two reasons: there's paperwork she needs to secure a scholarship for her studies (she hopes to become a filmmaker), but even more important, she hopes to unravel the secrets of the parents she barely knew. Shot in Galicia, a landscape of rocky coasts and salty-blue air, this loosely biographical third feature from Catalan filmmaker Carla Simón, part of the Cannes competition slate, has a wistful, earthy glow. This is graceful, quietly intelligent filmmaking—including a touch of unsentimental magic realism involving a wise and beautiful Norwegian Forest Cat. Two Prosecutors Maybe it's just the global mood of the day, but Ukrainian filmmaker Sergei Loznitsa's crisply made shaggy dog story, with its bleak sense of humor, somehow felt like the movie of the moment. It's 1937 Stalinist Russia: A desperate letter from an unjustly imprisoned man reaches a newly appointed local prosecutor (Aleksandr Kuznetsov). He vows to correct this injustice, jumping dutifully through every bureaucratic hoop until he can meet with the government bigwig who can help. Two Prosecutors, adapted from a 1969 novel by Georgy Demidov, is a bleak shout of futility that's also strangely, bitterly funny. If you didn't laugh, you'd cry. The Mastermind Kelly Reichardt's almost-a-comedy about a hapless art thief in 1970s Massachusetts—played, wonderfully, by Josh O'Connor—is a perceptive portrait of a guy who, after apparently coasting through life, coasts right into a figurative brick wall. Who wouldn't buy anything O'Connor, with his darling secret smile, tells them? Alana Haim plays his had-it-up-to-here wife; a scene in which he explains his motivation to her—everything he's done has been 'mostly' for her and the kids—is both gently funny and heartrending, not because he's lying to her, but because he believes every inadequate word. Young Mothers The Dardenne Brothers are such Cannes regulars that whenever their films show up in the competition slate, you expect a well-crafted, intimate drama that may be satisfying enough to watch in the moment, even if it doesn't really linger in memory. But Young Mothers, which follows four teenage mothers in a state-run home as they learn to care for their infants—or, more wrenchingly, learn to let go—is a quiet stunner. Like many of the Dardennes' films, it has a quasi-documentary feel; the girl's faces—and they are girls, despite being of child-bearing age—are open and vulnerable. One is fighting drug addiction—she swears to her wriggling infant that she's going to quit, though the reality is much harder than the vow. Another is trying to escape a cycle of poverty and abuse; she knows she can only do so much for herself, but she wants something far better for her daughter. This is a hopeful movie, not a depressing one. Even so, it tugs at you, long after the last frame. Urchin and The Chronology of Water The festival's Un Certain Regard section featured two films by young actors trying their hand at directing full-length features for the first time. Kristen Stewart's Chronology of Water —starring Imogen Poots and based on Lidia Yuknavitch's memoir about sexual trauma and substance abuse—is hardly a perfect film. But there's nothing timid about it. Stewart makes some bold choices here, refusing to sand down the jagged edges of this story even as she structures it in a way that doesn't send us spiraling into despair. And English actor Harris Dickinson, terrific in films like Babygirl and Triangle of Sadness, turns out to be a smart, promising director as well. In his debut film Urchin, which also premiered in Un Certain Regard, Frank Dillane plays a Londoner who's fallen through the cracks, drug-addicted and living on the streets; he resolves to clean up his life, with the usual pitfalls and some new ones. Dickinson has a light touch and a lively imagination, as well as a sense of humor; he takes material you think might be conventional and opens new windows of thinking. You could argue that it's 'easier' for famous young actors to make their first film. But if they're using their prestige and resources to make smart, inventive debuts? We all win. These are emerging filmmakers who refuse to be boring. Orwell: 2+2=5 Raoul Peck is one of our most valuable documentary filmmakers. Instead of just presenting us with information, he shows us ways of seeing, inspiring us to look for patterns and connections we might not have seen otherwise. That's the principle at work in Orwell: 2+2=5, which premiered here out of competition. You can know George Orwell's work backward and forward and still find something new here. Or you can be an Orwell neophyte and understand why, 75 years after his death, his ideas and preoccupations feel more modern than ever. Orwell worried in advance about the lives we're living today. Orwell: 2+2=5 makes the case for why we should be worrying, too. [ Read the full review. ] Sentimental Value Danish-Norwegian filmmaker Joachim Trier broke through in the United States in 2021 with The Worst Person in the World, starring the extraordinary Renate Reinsve as an uncompromising but not altogether 'together' young woman navigating romance, and life, and making lots of mistakes along the way. Trier and Reinsve return with the marvelous Sentimental Value, part of the Cannes competition: Reinsve and Inga Ibsdotter Lilleaas play sisters, raised in a sprawling yet cozy house that has been in the family for years, who are suddenly forced to reckon with the selfishness and self-absorption of their long estranged filmmaker father (Stellan Skarsgård). Sentimental Value strikes a slightly more somber note than Trier's previous film, but it's no less radiant. 'Tenderness is the new punk,' Trier said at the press conference for his film. Those may be our new words to live by.
Time Magazine
18-05-2025
- Entertainment
- Time Magazine
Richard Linklater's Breathless Tribute Nouvelle Vague Is an Inside Baseball Movie for Everyone
Some days it seems we live in a horrid world where the majority of humans couldn't give a fig about art. How many people in that world are going to care about a 66-year-old black-and-white movie—one that, for anyone who doesn't speak French, requires the reading of subtitles? Yet here comes a comet: Richard Linklater's sensational Nouvelle Vague, an agile, witty, elegant picture about the making of a movie that possibly only film lovers and bona fide old people care about— Jean-Luc Godard's cannon-shot of a debut, 1959's Breathless —may end up being appreciated by only about 2.6 percent of the general population. Who would make a picture like that? Only someone who cares. Nouvelle Vague, which premiered at the Cannes Film Festival on May 17, is the ultimate inside-baseball making-of movie. But even more than that, it's a picture that stands strong on the side of art, of history, of working to solve the puzzle of things that maybe at first you don't fully understand. It's both a shout of joy and a call to arms. It's all about the bold, muscular act of caring. Jean-Luc Godard was just 29 when he made À bout de souffle —the movie that would come to be known among English-speakers as Breathless —and yet he felt he was lagging behind his peers at Cahiers du Cinéma, the movie journal whose critics became, almost magically, some of the era's greatest filmmakers. Critics as filmmakers? Beware: it's a lousy idea. Yet Godard's Cahiers colleague François Truffaut had already made The 400 Blows, a picture Godard loved, and envied. Ambitious, bratty, and brilliant in a playing-behind-the-beat way, Godard wanted to make his own movie. But who would give him the money? Nouvelle Vague tells the story of how the enigmatically charming yet sort-of-a-jerk Godard—played, marvelously, by Guillame Marbeck—wheedled his way into making Breathless, shot in just 20 days, guerrilla-style, largely on the streets of Paris. He already had ideas for several films, and in an early scene, he pitches them excitedly to producer Georges de Beauregard (Bruno Dreyfürsft). But Beauregard will hire him only if he shoots a script that Truffaut (played here by Adrien Rouyard) has already written. That script, inspired by a real-life story Truffaut had seen in the newspaper, followed a raffishly alluring French layabout, Jean Paul Belmondo's Michel Poiccard, who steals a car, shoots a cop, and is ultimately betrayed by his American journalist girlfriend, Jean Seberg's gamine femme fatale Patricia Franchini. Godard gets to work finding his cast. He wants his friend Belmondo (Aubry Dullin) to play Michel: he goes to the boxing gym where the amiable, loose-limbed actor is working out, joining him in a jump-rope session as he makes his pitch. Can he get Jean Seberg (Zoey Deutsch), already a star, to play Patricia? Boldly, he makes his move, first approaching her husband, François Moreuil (Paolo Luka-Noe), who's managing her career. She doesn't like the idea: she doesn't want to work with this newcomer; she thinks the whole thing will come crashing down; and even after shooting begins, she threatens to quit. Somehow, she sticks with it, at times following Godard's capricious lead but just as often challenging him. He finds a DP he likes, the gentle giant Raoul Coutard (Matthieu Penchinat). There's a persnickety script girl, Suzon Faye (Pauline Belle), who tries to tell her boss Godard that for continuity's sake, he can't remove a cup from a table in one of the small flats the crew has commandeered as a set. 'Reality is not continuity!' he says, just one of the many bossy, spontaneous, maddeningly delightful pronouncements he will make as he and his friends—all of them under 30, most of them with virtually no idea what they're doing—launch into the adventure of making a moving picture. Don't know who any of these real-life characters are, or what they look like? Linklater's got you. He has filled his cast largely with unknowns, seeking actors who closely resemble their real-life counterparts; most of these aren't faces you'll recognize, playing people from the past you may never have heard of. But Linklater introduces each player with his or her name neatly emblazoned at the bottom of the screen, similar to the way characters (and often the actors playing them) used to be identified in silent movies, so audiences could get their bearings quickly. It's easy to follow along, and before you know it, you're surfing this nascent New Wave with the people who helped create it, held aloft by the buoyancy of Godard and his ramshackle—yet perfectly chosen—team of accomplices. Godard would start each day of shooting with fresh ideas. When he ran out of them, sometimes after shooting only one or two scenes, he'd quit for the day. Some days, on a whim, he'd call off shooting altogether, causing Beauregard to materialize seemingly out of nowhere in an understandable huff. To shoot on the street without attracting attention, they obtain a postal cart and put the camera—as well as Coutard—inside. Every five minutes or so, Godard blurts out a favorite aphorism. You may already know some of them, like 'All you need for a movie is a girl and a gun.' But so many of them flow from his lips that they become a running gag. He quotes Gaugin ('Art is either plagiarism or revolution'), Duke Ellington ('I don't need time, I need a deadline'), Leonardo Da Vinci ('Art is never finished, only abandoned'). Marbeck, peering out at the world through dark glasses, shaking his pipe at his cast and crew as he spins out his sometimes puzzling directives, captures the impish magnetism of the young Godard. You want to slug him; you also adore him. And to watch him, his cast, and his friends make this thing—a movie we freely call a masterpiece, though that's too snoozy a word for the blast of cool energy that is Breathless —is a particular kind of bliss. Nouvelle Vague is filled with lore: Godard has hired a stuntman to film a somewhat complex scene in which a pedestrian is hit by a car. In the end, he decides to shoot just the aftermath of the accident, getting his friend and fellow filmmaker Jacques Rivette (Jonas Marmy) to lie down in the street and play dead. Deutsch, with her ragamuffin-chic blond pixie cut, is a perfect Seberg. To hear her speak in French, perfectly capturing the way Seberg's dang-flat midwestern vowels insinuated themselves even in that most beautiful of languages, is a delight unto itself. (Seberg was born in Iowa, though she's buried where she belongs, in Montparnasse Cemetery in Paris.) And as Belmondo, Dulling gives a performance of spectacular physicality, whether he's scrambling in his pocket for chicken feed to buy a small café meal, or, after being shot, staggering and stumbling down a Paris street in a half-tragic, half-funny promenade, with Godard and his camera crew trailing behind. Watching Breathless, we see Belmondo's jagged ballet from behind. In Nouvelle Vague, we see Dullin-as-Belmondo's face as he swerves and zigzags toward his demise. Passers-by look alarmed; he tells them not to worry. 'It's for a movie!' he says cheerfully, channeling the essence of Belmondo's rubbery charm. Nouvelle Vague was filmed in Paris, but required extensive digital-effects work to make it look accurate for the period. This is filmmaking as leap of faith: Nouvelle Vague may seem glowingly modest, but unlike Breathless, it couldn't be made on the cheap. At the same time, its layers of details are gorgeous and priceless. Pascaline Chavanne's costumes, especially Seberg's wardrobe of minute cardigans and jaunty silk scarves, strike every note perfectly. (And I'm dying to know what Derek Guy, the eminently knowledgeable wag behind the social-media account Die Workwear!, will think of Marbeck-as-Godard's gently rumpled jackets and scuffed-just-right loafers.) Cinematographer David Chambille gives the images a lustrous, pearly depth. The soundtrack is a buffet of rapturous period jazz, some of it silky, some of it vibrating with skittery energy, much like Martial Solal's score for Breathless itself. You'll hear songs you maybe don't know, like Zoot Sims' version of 'My Old Flame,' and if this is the first time it reaches your ears, I envy you the discovery. Cannes is obviously the place to premiere a movie like Nouvelle Vague. That 2.6 percent of the population that cares about Breathless? Ninety-eight percent of them are here. But from things he's said about the film, it seems Linklater doesn't think of it as niche. And really, isn't that the only way to go? According to the movie's press notes, when an apprehensive financing executive asked him who he thought this film was for, he said, 'Like all my films, this one is for young people.' It is, after all, about young people making their first movie. He said that if he did his job right, young people would walk out of the theater thinking, 'I can do this too! In fact, I'm going to do it!' But even if you will never in your life pick up a movie camera, Nouvelle Vague is film as invitation—the best kind of film. If you don't know Breathless —what are you waiting for? And if you do know it—even if you've seen it a dozen or a hundred times— Nouvelle Vague will make you see it anew. Is there a difference between loving a movie and being in love with one? Maybe the distinction is subtle. But when a movie that makes you want to weep with joy, you know something is happening. There's no resisting the gangster of love.
LeMonde
17-05-2025
- Entertainment
- LeMonde
'Breathless' script unveiled at Cannes
Wild modernity The script of Breathless, written in 1959 by Jean-Luc Godard, is shrouded in mystery. Initially owned by producer Georges de Beauregard and his heirs, it will be showcased for the first time at Cannes on May 19, 20 and 21 during the Festival by Sotheby's, which will auction it on June 4 in Paris. According to the auction catalog, these "72 loose pages handwritten in black and blue ink" feature Godard's first full-length film: the love story between Michel Poiccard (Jean-Paul Belmondo), a brash fugitive who has committed a murder, and Patricia (Jean Seberg), an American student. Upon its release in 1960, the film was deemed immoral and banned for viewers under 18. With its wild modernity, Breathless is one of the iconic films of the French New Wave. An element of mystery Until now, it was believed that the Breathless script was condensed into 26 pages. According to Sotheby's, the manuscript actually comprises "29 A4 pages of script, with some erasures," followed by "38 pages of dialogue and 5 pages of trailer breakdown." The script portion only covers "the first 14 minutes of the film." This suggests that some pages were lost, especially since Godard would sometimes jot down dialogue directly on envelopes and hand them to actors before shooting a scene, and these scraps of paper were likely discarded. However, Anne Heilbronn, vice president of Sotheby's in France, examined the manuscript closely: "The last sheet of the script ends abruptly. Godard probably did not write any additional pages, and the manuscript is as complete as possible."
Yahoo
17-05-2025
- Entertainment
- Yahoo
Richard Linklater's Cannes Competition Film ‘Nouvelle Vague' Gets New Teaser Trailer
A new teaser trailer for Richard Linklater's Nouvelle Vague (New Wave), which is premiering in the Cannes Film Festival competition on Saturday evening, shows off some of the cinematic style audiences can expect from the homage to Jean-Luc Godard's 1959 New Wave classic A Bout de Souffle (Breathless). The black-and-white movie, shot in the 4:3 aspect ratio, stars Guillaume Marbeck as Jean-Luc Godard, Zoey Deutch as Godard's star Jean Seberg, and Aubry Dullin as Jean-Paul Belmondo. More from The Hollywood Reporter Pedro Pascal, Emma Stone and Ari Aster's 'Eddington' Cast on What the Film Says About America: "We're on a Dangerous Road" Cannes, According to ... Karel Och, Artistic Director, Karlovy Vary Film Festival 'Urchin' Review: Frank Dillane Is a Self-Destructive Car Crash in Harris Dickinson's Impressive Directing Debut 'This is the story of Godard making Breathless, told in the style and spirit of Godard making Breathless,' reads a synopsis for the film. Austin impresario Linklater shot his love letter to the French New Wave on location in Paris, explaining that his mission in making the film was 'to show the absolute love of cineastes.' The screenplay is from Vince Palmo, Michèle Halberstadt, Laetitia Masson, and Holly Gent, while David Chambille was in charge of cinematography. Goodfellas is handling international sales on the project. Crime drama Breathless, written and directed by Godard, features Belmondo as a young criminal and Seberg as his American girlfriend. French and Swiss film legend Godard's first feature-length movie became Belmondo's breakthrough as an actor. Godard (1930-2022) began work as a film critic before becoming a screenwriter and director. The trailer for Nouvelle Vague teases 'a pretty boy, a pretty girl, Paris 1959' and also promises stars, money, adventure and more big names from the film world, among other things. Check out the new teaser, including how it highlights that this is 'a film for the big screen, below. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
